Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Yemen and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1973.
I'm losing my edge.
To all the kids in London and Johannesburg.
I'm losing my edge to the art-school Toronto kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Real Kids to the disco kids.
I played it at the 40 Watt.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Aswad. All the underground hits.
All Thinking Fellers Union Local 282 tracks. I heard you have a vinyl of every Scrapy record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Busters record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Jandek,
Josef K,
Sugar Minott,
Scott Walker,
Reuben Wilson,
The American Breed,
Bill Wells,
Young Marble Giants,
Mo-Dettes,
James Chance & The Contortions,
Yazoo,
Graham Central Station,
Maleditus Sound,
Crispian St. Peters,
Essential Logic,
X-101,
The Red Krayola,
Prince Buster,
Cabaret Voltaire,
Outsiders,
Sixth Finger,
Silicon Teens,
The Smiths,
Tres Demented,
David Axelrod,
The Shadows of Knight,
Camron Feat. Memphis Bleek And Beenie Seigel,
Alison Limerick,
Gian Franco Pienzio,
Rowland S Howard / Lydia Lunch,
These Immortal Souls,
Alphaville,
Marc Romboy vs. Booka Shade,
Neil Young & Crazy Horse,
Visage,
Tomorrow,
The Monks,
Michelle Simonal,
Absolute Body Control,
Sarah Menescal,
Can,
Henry Cow,
Monks,
Yusef Lateef,
Jesper Dahlback,
Visionaries,LMNO, T- Love & Iriscience,
Dawn Penn,
The Fall,
James White and The Blacks,
Main Source,
The Dead C,
the Slits,
EPMD,
Erasure,
Massinfluence,
Funky Four + One,
Country Joe & The Fish,
Thompson Twins,
Kenny Larkin,
Masters at Work,
Cluster,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.